Patrick Cronin

Large Sculptural Cubist Abstract Painting

1986

Purple, blue, magenta, black, and white geometric abstract painting/ wall sculpture by Gary Jurysta titled "Rising Currents". Acrylic on stretched canvas, circa 1972. Signed, dated,...

Orange, pink, and blue geometric abstract painting/ wall sculpture by Gary Jurysta titled "Ripple Corner". Meant to be hung in the corner of a room. Acrylic on stretched canvas, cir...

White abstract found object painting by Houston, TX artist Tra' Slaughter. The painting features a shoe suspended with string in a painted frame. This piece was included in Tra's sol...

Black abstract found object painting by Houston, TX artist Tra' Slaughter. The painting features a shoe wrapped with string on a painted canvas. This piece was included in Tra's solo...

White abstract found object painting by Houston, TX artist Tra' Slaughter. The painting features a shoe wrapped with string on a painted canvas. This piece was included in Tra's solo...

Contemporary pastel abstract painted motorcycle kiddie ride by New Jersey based artist Russ Rubin. The work features Russ' signature muted desert inspired ...

Nancy Genn, American (b. 1929) Marshfield 25 (1977) Handmade paper collage Hand signed verso Dimensions: 20 1/8 x 22 inches Utilizing what is now known as the 'Genn Method,' Nancy Genn created three-dimensional abstract works of handmade paper, gaining international recognition in the 1970s Nancy Genn is an American artist living and working in Berkeley, California known for works in a variety of media, including paintings, bronze sculpture, printmaking, and handmade paper rooted in the Japanese washi paper making tradition. Her work explores geometric abstraction, non-objective form, and calligraphic mark making, and features light, landscape, water, and architecture motifs. She is influenced by her extensive travels, and Asian craft, aesthetics and spiritual traditions. Nancy Genn was born in 1929 in San Francisco, California. She recognized early that she would pursue a career as an artist. Her mother, Ruth Wetmore Thompson Whitehouse, was a painter and UC Berkeley alumna who played a leadership role in the San Francisco Women Artists organization. Genn studied at San Francisco Art Institute (then California School of Fine Arts) with painter Hassel Smith, and at the Art Department at the University of California, Berkeley (1948–49) with Professors Margaret Peterson and John Haley, and fellow students Sam Francis and Sonya Rapoport. In 1949 she married Vernon “Tom” Genn, an engineer raised in Japan, with whom she had three children. Career Genn's first noted solo exhibition was in 1955 at Gump's Gallery in San Francisco. She received international recognition through her inclusion in French art critic Michel Tapié’s seminal text Morphologie Autre (1960), which cited her as one of the most important exponents of post-war informal art. In 1961, Genn began creating bronze sculptures using the lost-wax casting method. Influenced by noted sculptor and family friend Claire Falkenstein, who used open-formed structures in her work, Genn cast forms woven from long grape vine cuttings, and produced vessels, fountains, fire screens, a menorah, a lectern, and, notably, the Cowell Fountain (1966) at UC Santa Cruz. In 1963 her sculptural work was exhibited with Berkeley artists Peter Voulkos and Harold Paris in the influential exhibition Creative Casting curated by Paul J. Smith at the Museum of Contemporary Crafts, New York. Genn was one of the first American artists to express herself through handmade paper, first receiving wide recognition via exhibitions at Susan Caldwell Gallery, New York, beginning in 1977, and in traveling exhibitions with Robert Rauschenberg and Sam Francis. In 1978-1979, supported by the National Endowment for the Arts and Japan Creative Arts Fellowship, she studied papermaking in Japan, visiting local paper craftspeople, working in Shikenjo studio in Saitama Prefecture, and exhibiting her work in Tokyo. She also learned techniques from Donald Farnsworth...

Flying White Smokey Waves . 2022 These wall sculptures are part of the Waves series. This wall sculptures are painted with , spray paint and smoke. They are sculpted by hand using h...

Flying Luminous Waves . 2022 These small sized Painting Sculptures are part of the Waves series. This mixed media wall sculptures are painted with acrylic paint, spray paint and past...

Cloud sculpture. It is made up of a sculpture made of plaster and painted with acrylic and spray paint. The sculpture is assembled to a piece of painted wood, which in turn is assembled to a larger one, composing a single piece with several layers. The artwork is backlit with an LED light box...

This is a two-part wall mounted painting / sculpture this integrates found objects and photographs into an acrylic painting on the top, and a wooden shelf with bullet casings and coins below. This is a conceptual, abstract work of art that is a powerful homage to lives lost through calculated gun violence in American cites. signed by the artist. PROVENANCE: Exhibited in "Portals + Revelations: Richard J. Watson," the African American Museum in Philadelphia, Oct 2021 - Mar 2022. "Most of my works are supported by memories of the past and suggested realities. Issues of social politics, ancestral references, and astral projections are presented with fragmented elements...

With a vision of paintings that literally break free of the canvas, Blady + Van Mil invented moulage (molded collage) through experimentation in the early days of the pandemic. It became their way of holding onto positivity as the enormity of the crisis was revealed. Collage captured the idea that many small actions add up to new hope. Moulding the canvas – allowing it to rise and flow – gave momentum to that feeling. Also propelling this new technique was the artists’ desire to reinvent the preciousness embedded in the fine arts paradigm. To create each moulage, they purposely cut up many of their own prized works into small pieces. Professional collaborators, married for 40 years, Blady + Van Mil always start with a big idea and play together to see where it might go, accepting both success and failure as drivers of progress. “In a year of turmoil and division, we realized we couldn’t change other people’s mindset, just our own. We began by dismantling our past works – with scissors – and were set free.” Annette Blady...